I`ve heard about the too-ka, the doo-gah n` the boogie-woogie. (Ok jokes on the last one ).

I personally find the doo-gah easier, but I`ve noticed it produces a much more mellow n` warmer sound rather than a sharper n` more attacked sound as the too-ka makes. Both are essential to flautists, of course depending on the style of music etc.

But to me it seems - nobody can make up their mind. As an overall concept as a generalized assumption of music style - which should I use? The doo-gah, or the too-ka?

Double tounging and triple tounging are to very different things.

To double tongue, you have to say duga (that`s what we do here anyway) And thats good in semi quaver passages.

Triple tounging is very different. It works on very fast triplet semiquavers, and quavers in some very odd time signature. There are probably more I myself dont know.

Hope that was helpful.

Excalibur.

Well doesn`t it depend on what you are playing, if it`s straight sixteenth staccato, then it makes sense to double tongue, while other cases like triplets are better if you triple tongue. So it will depend on your music.

I find that it`s almost the same, and it`s easier for me to solidly triple tongue than to double tongue. It`s about the same, where I double tongue > da-ga-da-ga and triple tongue > da-ga-da

In all honestly, flute players can single tongue really fast, and sometimes will not even have to use double and triple tonguing, but it is a good skill to learn. and it`s not that hard for the flute. The brass have the easier time for it, followed by the flutes. It`s the reed instruments that have a harder time with it. It took me a while to get double and triple tonguing on the oboe, but it was a lot easier to get it on the flute.

Wing! You`re an oboist? Cool, finally someone else!

Is it actually possible to double tongue and triple tongue on an oboe, coz I heard you can break the reed doing it!?

Excalibur.

Actually I didn`t have much of a choice, in my school it`s a component in our exam to be able to double tongue by the end of grade 10 and triple tongue by the end of grade 11. It`s actually not supposed to be possible to double and triple tongue on the oboe or clarinet, the reason being that we have a reed. So you have to learn to be careful and not hit the reed while you do it, it`s definately different from double/triple tonguing on a trombone or a flute that`s for sure, it`s a bit tricky but I got it. I can even really explain how to do it, you just have to do it by trial and error, without trying to break the reed (I know reeds are expensive, they have cost me a small fortune over the 3 1/2 years that I have been playing).

Looking back at your comment, I didn`t realize oboe players were so scarce. We always seem to have oboe players in my school, well at least two anyways.

"Double tounging and triple tounging are to very different things."

Shyeah... I know.

I was just more internested in the sound to make... then I know I can incorperate that sound into triple tounging just like Wing demonstrated.

Seems Doo-gah... or Duga... over rules so far. Thanks guyz.

this is to wing on his post a lil bit back. you actually had to double and triple tounge on a reed intrument? that must have been some feat. for intruments like brass and the flute its relitively easy. but us guys usin a reed (i play tenor and alto sax) its pretty hard. i`m tried countless times, (about the same i`ve tried to do circular breathing but thats a different topic...-_-) but i just can`t get it right. i`m a bit far into the post now and i can`t remember if u explained a way to double or triple tounge an intrument with a reed.

All wind players in my school have to learn how to double tongue by the end of grade 10 and triple tongue by the end of grade 11, it is a requirement on our exam regardless of what wind instrument you play.

It is different on a reed instrument, my tongue kept flicking my oboe reed when I did it and it took a while to get used to it and keeping your tongue in a slightly different position, while on trombone and flute, it took very little time to get that skill down.

Once you get it, it can be really useful, especially in those staccato runs. And it isn`t impossible on a reed instrument, just takes a little practice, the person who did the best double/triple tongue in my school was actually a clarinettist, supposedly one of the most impossible to do.